Dissertations / Theses on the topic 'Dracula'
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Silva, Ana Cristina Alves da. "The Fog era a Jungian and post-Jungian interpretation of Dracula and its filmic version Bram Stoker's Dracula." Florianópolis, SC, 2005. http://repositorio.ufsc.br/handle/123456789/102343.
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Esta dissertação propõe uma interpretação Jungiana e Pós-Jungiana do romance Drácula, escrito por Bram Stoker, e sua versão cinematográfica Drácula de Bram Stoker de Francis Ford Coppola. Incluindo alguns aspectos do Romantismo, características de algumas narrativas de horror e o uso de conceitos Jungianos e pós-Jungianos, apresento uma proposta de um conceito teórico e crítico que decidi chamar de "Fog Era" (a Era da Bruma). Este conceito é essencialmente dinâmico e contém um aspecto seminal e imutável que faz com que seus elementos passeiem por diferentes contextos históricos e se readaptem, adquirindo novos contornos. A função proposta para a "Fog Era" é servir como uma ferramenta para análise de algumas facetas do horror, primeiro nas narrativas mencionadas e depois em outras narrativas analisadas brevemente. Na Introdução mostro os passos que devo seguir nos outros capítulos e que bases do Romantismo e fronteiras literárias devem limitar meu trabalho. No Capítulo I, item 1, mostro quais conceitos Jungianos uso para minha análise, bem como uma perspectiva mais contemporânea dos pesquisadores pós-Jungianos. No item 2, apresento o Romantismo em antagonismo com os valores Vitorianos e explico porque o conceito Jungiano da sombra é válido para dizer que os Vitorianos são a sombra dos Românticos. No item 2.1, o arquétipo da Mãe é usado para justificar o contexto em que as narrativas de horror foram criadas. No item 2.2, uma relação entre arquétipos e personagens é feita e será o suporte para a análise no próximo capítulo. O Capítulo II traz a análise completa da versão de Coppola, sendo que no item 1 mise-en-scène e caracterização são relacionadas com os conceitos Jungianos e o item 2 mostra a reiteração da análise e o novo contexto histórico do filme. O item 3 apresenta minha proposta de um novo conceito teórico para analisar as narrativas horror, chamada de "Fog Era". Na Conclusão revejo a teoria usada, confirmo as características e a utilidade da noção de "Fog Era". This thesis proposes a Jungian and post-Jungian interpretation of the novel Dracula, written by Bram Stoker, and its filmic version Bram Stoker's Dracula, directed by Francis Ford Coppola. With the inclusion of some aspects of Romanticism, characteristics of some horror narratives and the use of Jungian and post-Jungian concepts, I attempt at defining a new critical theoretical concept that I call the Fog Era. This concept is essentially dynamic and contains a seminal immutable aspect that makes its elements travel through different historical contexts and re-adapt themselves while acquiring new contours. The function proposed to the Fog Era concept is to serve as a tool to analyze some of the horror manifestations in the narratives mentioned above; at the same time, some other narratives are analyzed briefly. In the Introduction, I show the steps I will follow in the subsequent chapters and establish what basis of Romanticism and what literary boundaries will limit my corpus. In Chapter I, item 1, I show which Jungian concepts I need in order to develop my analysis, as well as a more contemporary and reviewed perspective of post-Jungian researchers. In item 2, I present aspects of Romanticism in antagonism with Victorian values and explain why the concept of shadow proposed by Jung is valuable to define the Victorians as the shadow of the Romantics. In item 2.1, the Mother Archetype is used to justify the context in which the horror narratives were created. In item 2.2, a relation is made among the archetypes and the characters present in the narratives, which will support the analysis for the next chapter. In Chapter II a full analysis of Coppola's filmic version is done: in item 1 the mise-en-scène and characterization are related to the Jungian concepts and in item 2, a reiteration of the analysis and the new historical context of the film. In item 3, I finally present my proposal of the new theoretical concept to analyze horror narratives, called the Fog Era. In the Conclusion, I review the theoretical frame used, and confirm the characteristics and usefulness of the Fog Era.
PETIT, JEAN CLAUDE. "Frankenstein, dracula, elephant man : terreur, solitude, esthetique." Paris 7, 1988. http://www.theses.fr/1988PA070040.
Full textThe present research mostly deals with the study of two "classicals" in the gothic tradition : frankenstein and dracula. The first two parts essentially aim at describing the social and cultural environment the characters live in. The sudden coming of the supernatural is then a cause of serious perturbation. The monsters must be fought, and this sometimes leads to intolerant comments and attitudes. To that purpose, the protagonists have to make far away trips, during which they are confronted to the unknown. The vampire's everlasting condition has also brought us to study a specific aspect : its spatial and temporal wandering existence. Other themes are also treated in this chapter, such as persecution and destiny. We have finally attempted to define the word "monster" and to explain how this concept can sometimes be related to that of "humanity". A development on ethical considerations follows these pages, what do "good" and "evil" actually mean? the natural elements -water and air, light and shadow- play an essential part in these novels. .
Aldach, Danielle Elyse. "Six Operatic Scenes from Bram Stoker's Dracula." OpenSIUC, 2014. https://opensiuc.lib.siu.edu/theses/1413.
Full textMoucarbel, Roula. "Dracula et le fantastique chez Bram Stoker." Thesis, Cergy-Pontoise, 2011. http://www.theses.fr/2011CERG0490.
Full textThis thesis is devoted to the study of the master piece from the Fantastic literature: Dracula, a novel that Bram Stoker wrote around the end of the XIXth century and that has relentlessly inspired mankind one generation after the other. Gifted with extraordinary powers, Dracula emerged as an enigma that required deciphering. Across the Fantastic, we attempt to discover the real implications of this mysterious being and to point out the position and role of the initiating archetype in the novel. The aim of the first part of the thesis is to study the emergence of the Fantastic phenomenon and of the vampire character through following its birth trail across the literature and tracking its origins in mythology and history. The second part deals with the Fantastic aspect of the novel. It highlights the setting, the characters in addition to portraying the image and the supernatural powers of the vampire. The third and last part deals with the analysis of the psychoanalytical approach of the Fantastic within the novel through appreciating the erotic image, the problem of evil and the different psychoanalytical conflicts present within Dracula
McArthur, Ian Duncan. "Adapting Dracula: The Afterlives of Stoker's Memes in Nosferatu (1922) and Dracula (1979)." BYU ScholarsArchive, 2017. https://scholarsarchive.byu.edu/etd/6477.
Full textBahrman, Alexander. "En påle genom Dracula-filmernas hjärta? : En komparativ analys av adaptationer av Bram Stokers Dracula (1897) från åren 2000-2014." Thesis, Uppsala universitet, Litteraturvetenskapliga institutionen, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-295233.
Full textKemlo, Justine. "A systemic-functional framework for the multimodal analysis of adaptation: the case example of Dracula." Doctoral thesis, Universite Libre de Bruxelles, 2012. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209633.
Full textDoctorat en Langues et lettres
info:eu-repo/semantics/nonPublished
Grimm, Gunter E. "Dracula und seine Erben. Über einen Horror-Mythos." Gerhard-Mercator-Universitaet Duisburg, 2002. http://www.ub.uni-duisburg.de/ETD-db/theses/available/duett-09082002-155027/.
Full textPetrikis, Titus. "Creating a sound world for Dracula (Browning, 1931)." Thesis, Bournemouth University, 2014. http://eprints.bournemouth.ac.uk/21390/.
Full textMoore, Jeffrey Salem. "English Assimilation and Invasion From Outside the Empire: Problems of the Outsider in England in Bram Stoker's Dracula." University of Dayton / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=dayton1291134372.
Full textKropp, Angelina. "Dracula, en klassiker som satt skräck i läsare sedan 1897 : - En litterär analys av klassikern Dracula och en av de moderna efterföljarna." Thesis, Örebro universitet, Institutionen för humaniora, utbildnings- och samhällsvetenskap, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-55746.
Full textPolicha, Tobias. "Pollination Biology of the Mushroom-Mimicking Orchid Genus Dracula." Thesis, University of Oregon, 2014. http://hdl.handle.net/1794/18404.
Full text2015-09-29
Wegner, Katja. "Dracula in Rumänien: Zur literarischen Rezeption einer historischen Figur." Universität Leipzig, 1995. https://ul.qucosa.de/id/qucosa%3A32987.
Full textWebb, Kathleen. "Creature of the Night: The Changing Image of Dracula." Miami University Honors Theses / OhioLINK, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=muhonors1110919620.
Full textRoberson, Jessica Anne. "BRAM STOKER'S DRACULA: THE HORROR OF A HISTORICAL VAMPIRE." Thesis, The University of Arizona, 2009. http://hdl.handle.net/10150/192953.
Full textLamborn, Erin Alice. "From Darwin to Dracula: A study of literary evolution." CSUSB ScholarWorks, 2005. https://scholarworks.lib.csusb.edu/etd-project/2836.
Full textAraújo, Davi Ribeiro Campos de. "Comparação das simulações de tráfego dos modelos saturn e dracula." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2003. http://hdl.handle.net/10183/4162.
Full textArtenie, Cristina. "Transylvania and romania in scholarly editions of Bram Stoker's Dracula." Doctoral thesis, Université Laval, 2015. http://hdl.handle.net/20.500.11794/26404.
Full textSince the 1970s, Bram Stoker’s Dracula (1897) has gone through an unexpectedly long series of scholarly editions, which has contributed both to the canonisation of a work of fiction previously considered undeserving and to the perpetuation of the novel’s views on Transylvania and Romania. As a rule, editors follow the principle according to which their annotations should allow today’s audience a reading experience similar to that of the original reader and as close to the author’s intention as possible. In Dracula’s case, this means that much of Stoker’s ideological choices remain unexplained and unchallenged, while his representations of “remote” people and places are supported by the editors’ use of the writer’s working notes. Stoker took down, in altered form, hundreds of quotes from several sources that he incorporated into the text of the novel. The editors of Dracula rely heavily on these notes, without taking into account the changes brought by the novelist, the passages that he used but do not appear in the notes, and the fact that the sources were often biased or simply wrong. Thus, the many scholarly editions of Stoker’s novel preserve and even enhance its original process of othering. The analysis of the othering discourse is closely linked to the discussion of the historical context of the novel, that is, to the neo-colonial status of Romania, examined in the second part of this study. The information unearthed here shows that who and what Stoker knew influenced his choice of place, plot and character, which can provide a new line of inquiry for both literary critics and historians. The involvement of Great Britain in the economy and politics of the region, before and after the Crimean War, attested by the presence of British colonial adventurers and by that of the British navy on the river Danube, has only been marginally studied by historians, and the same is true about the study of the British involvement in the European Commission of the Danube. The present study can be equally useful to scholars engaged with postcolonialism, globalisation, and the transformations brought about by capitalism in the Lower Danube region and by the integration of the Romanian principalities into the world market economy. Stoker’s sources were travellers to Transylvania and Romania who were preoccupied with the economic advantages those countries had to offer. Their writings both stimulated and, later, supported the British involvement in the economy of the region. This dissertation crosses yet another boundary, from literary studies into anthropology. Cultural anthropologists can find useful the discussion of time and difference in Stoker’s novel and in the annotations of the editors, both of which involve the collection and manipulation of data from a “remote” European region. In the case of Dracula, the (non)existence of vampire beliefs is an interesting case study which provides insight into the practice but, more importantly, into the far-reaching consequences of nineteenth-century anthropological work. Although an examination of the most heavily annotated scholarly editions of Bram Stoker’s vampire novel, the present study is interdisciplinary. It employs theories and concepts from several fields, thus bringing to the fore the intricate links between culture, history, politics and economy. What this study shows, more importantly, is the close link between the literary object and the context in which it was produced.
Zakharia, Rita. "Greve Dracula och Edward Cullen : En komparativ studie av två vampyrer." Thesis, Stockholms universitet, Avdelningen för litteraturvetenskap, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-77726.
Full textFriberg, Erica. "The Professor and the Typist : Characterisation and Plot Devices in Dracula." Thesis, Stockholms universitet, Engelska institutionen, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-72006.
Full textTso, Wing-bo, and 曹穎寶. "Representation of female vampires in Bram Stoker's "Dracula" and horror films." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B29940412.
Full textKearley, Miranda S. "Traumatic desire in three gothic texts : The Monk, Dracula, and Lost." Honors in the Major Thesis, University of Central Florida, 2008. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1096.
Full textBachelors
Arts and Humanities
English Literature
Бричка, Н. "Концепт HORROR в англійській мові (на матеріалі роману Брема Стокера “Dracula”)." Thesis, Сумський державний університет, 2017. http://essuir.sumdu.edu.ua/handle/123456789/51631.
Full textВ английском языке существует ряд лексем для обозначения концепта HORROR. Языковые единицы, представляющие исследуемый концепт, не ограничиваются их одноименной лексемой. Согласно лексикографических источников, словарный состав английского языка представлен несколькими лексическими единицами со значением "страх".
In English there are a number of lexemes for the concept HORROR. The linguistic units representing the examined concept are not limited to their eponymous token. According to lexicographical sources, the vocabulary of the English language is represented by several lexical units with the meaning "fear".
Strovas, Karen Beth. "Sleep and Sleeplessness in the Victorian Novel, Jane Eyre to Dracula." Scholarship @ Claremont, 2011. http://scholarship.claremont.edu/cgu_etd/44.
Full textAbbott, Stacey. "'Up to date with a vengeance' : modern vampires from Dracula to Blade." Thesis, Birkbeck (University of London), 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.401222.
Full textMendes, Joseph A. "Droch Fhola: Sexuality, Blood, Imperialism and the Mytho-Celtic Origins of Dracula." Thesis, Boston College, 2005. http://hdl.handle.net/2345/399.
Full textThis project explores Dracula's many shifting guises and identities, chiefly examining them through an Irish/Mytho-Celtic lens. Among these are Dracula's role as conqueror, mythical Celtic figure, sexual liberator, imperialist, aristocrat, landlord, victim and agent of imperialism. Although Dracula's nature and his portrayal in the novel is often contradictory, this project seeks to acknowledge the contradictions while at the same time pushing beyond them to get at the, for lack of a better phrase, soul of Dracula's character
Thesis (BA) — Boston College, 2005
Submitted to: Boston College. College of Arts and Sciences
Discipline: English
Discipline: College Honors Program
Zanini, Claudio Vescia. "The myth of the vampire and blood imagery in Bram Stoker's Dracula." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2007. http://hdl.handle.net/10183/12102.
Full textThe aim of this thesis is to present a reading of Dracula, published in 1897 by the Irish author Bram Stoker. The purpose of the investigation is to identify the predominant archetypes and images in Dracula, showing to what extent they represent relevant issues to Victorian society and the audiences the novel has had since then. The work is published in a crucial historical moment, during which the British traditional rural values are replaced by modern and urban ones. A major consequence of such a transition is a drastic change in the British behavioral code. Several elements in such a transformation can be identified in Stoker’s novel, and the eagerness with which the work was accepted by Victorian audiences is a symptom of the needs that resulted from the excessive repression from that period. The analysis of the archetype of the vampire and the archetypal images presented in Dracula unfolds predominantly through the examination of the psychological and anthropological implications connected to blood imagery. The main theoretical tools come from the studies of Carl Gustav Jung and Gilbert Durand. The thesis is subdivided in three chapters. In the first part of chapter one I present some contextualization referring to certain phenomena perceived in the Victorian society, mainly the ones regarding the gender implications in the behavioral code of the time, and in the second part I present contextualization connected to historical characters who influenced Bram Stoker in the creation of his main character. In chapter two I present the theoretical approach, introducing the concepts defined by Jung upon which the reading in chapter 3 is based. I also analyze symbols, images and archetypes in Dracula according to the orders of the image proposed by Durand. In chapter three I offer my reading, identifying and analyzing blood images and symbols in the novel. In the conclusion, I present the final considerations, with the purpose of ratifying the strong bonds connecting the underlying meanings present in the novel and the life experience of the audience, having as a basis the myth of the vampire and its association to the blood imaginary, in an attempt to explain the successful and continuous reception of the novel.
Voelker, Joseph E. "Dracula : an embrace of the postmodern in the age of gothic conventions /." Abstract and full text available, 2009. http://149.152.10.1/record=b3078354~S16.
Full textThesis advisor: Robert Dunne. "... in partial fulfillment of the requirements for the degree of Master of Arts in English." Includes bibliographical references (leaves 81-83). Also available via the World Wide Web.
Horgan, Sarah. "Writing the national self : Bram Stoker's Dracula and Anglo-Irish Gothic identities." Thesis, University of Kent, 2012. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.594274.
Full textPaquiot, Alethea. "Images de la transgression : Carmilla (1872), Dracula (1897) et les vampires d'Anne Rice." Thesis, Le Havre, 2016. http://www.theses.fr/2016LEHA0028.
Full textKnown to most as Dracula, the vampire is revealing and resilient monster whose diegetic existence predates Stoker's novel, and that has become a key figure of popular culture. From folklore to fiction and from shadow to ligjhte, its evolution is indicative of the times and societies in wich it return to life. Equally transgressive and normative, its avatars play a cathartic role aas they epitomize rejection of human, natural and divine laws, but also the reiteration of the rules and the creation of literary canons. This diachronic study focused on "Carmilla" (1872), "Dracula" (1897) and Anne Rice's vampires shows that their adventures induce reflection on both the consequences of wrongdoing and the validity of norms, on the essence of human nature and hubris, and the liberating fucntion of fictional characters, particulary monsters
Hallgren, Erika. "Vampyrbruk i populärkulturen : En undersökning av vampyrmyten i Dracula, Twilight och True Blood." Thesis, Linnéuniversitetet, Institutionen för kulturvetenskaper (KV), 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-50119.
Full textBisson, Mauro Palacow. "Mito : o sagrado no cinema contemporaneo : o caso "Dracula" de F. F. Coppola." [s.n.], 1998. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284216.
Full textDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: O presente trabalho pretende trazer à discussão o estudo das mitologias em uma abordagem mais próxima dos meios de comunicação, entendendo o Mito como uma Linguagem Simbólica e verificando sua manutenção enquanto reflexo do Sagrado e modelo exemplar para os seres humanos, tentando desvendar em que medida, nas sociedades contemporâneas, estes mesmos temas são incorporados e recriados pela indústria cinematográfica através de suas realizações. Num primeiro momento, definimos o conceito de Mito válido para o projeto, já que existe uma profusão de interpretações para o termo. Para isso, utilizaremos os estudos de dois dos mais profícuos pesquisadores do tema: Joseph Campbell e Mircea Eliade. Após essa definição inicial, traçamos um conciso panorama do caminho que a linguagem mitológica percorreu na "civilização ocidental". A seguir, partimos para uma exposição de algumas manifestações artísticas do século XX como formas que o Mito assume nas sociedades contemporâneas: festas populares, atividades artísticas como dança, literatura, artes visuais, etc., e finalmente, a linguagem cinematográfica. Nesse momento, percorremos um pouco da história do cinema para esclarecer até que ponto essa linguagem incorporou conquistas de outras áreas e as utilizou em seu próprio proveito, modificando-as ou recriando-as. Finalmente, através da escolha de um tema mítico, a batalha entre o Bem e o Mal, chegamos à análise do filme em questão: o Drácula de F.F.Coppola. Através de uma análise fílmica particular, verificamos a medida em que o referido filme utiliza a linguagem mitológica e simbólica
Abstract: The following research intends to discuss the mythologies in a pragmatic approach, focusing the communication media, by understanding the Myth as a Symbolic Language and verifying its survival as a Sacred Reflex and an exemplar pattern to all the human beings. We try to reveal how, in some way, these themes are assimilated and recriated by the cinematographic industry and its features, in the contemporary societies. At first, we delimit the concept of Myth to this project concepction, since the diversity of interpretations to this word is something remarkable. Having that in mind, we will make use of the studies by two of the most profitable researchers in that field: Joseph Campbell and Mircea Eliade. After this primary approach, we deliniate a concise view of the way mythical language has gone through in the Western Civilization. Following that, we find out some 20th Century artistic manifestations as configurations adopted by Myth in contemporary societies: popular celebrations, artistic activities as dance, literature, visual arts, etc., and finally, the cinematographic language. At that moment, we move forward the history of cinema to enlighten in which measure that language assimilate acknowledgments of other areas and made use of them in his own profit, modifying them or recreating them. Finally, by choosing a mythic theme, the battle between Good and Evil, we concentrate the analysis on BramStoker's Drácula by F.F.Coppola. We proceed from a very particular filmic analysis, to verify in what way the above-mentioned film make use of the mythical and symbolic language
Mestrado
Mestre em Multimeios
Bassan, Elena <1995>. "Late-Victorian Britain and 'the Anxiety of Reverse Colonization' in Bram Stoker's 'Dracula'." Master's Degree Thesis, Università Ca' Foscari Venezia, 2021. http://hdl.handle.net/10579/19011.
Full textThernlund, Martin. "Dracula vs. the Beetle : How Science is Used as a Rhetorical Tool to Bring the Monsters to Life." Thesis, Linnéuniversitetet, Institutionen för språk och litteratur, SOL, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-19631.
Full textEasterling, Siobhan. "Dracula: Demons, Victims and Heroes : A Discussion of the 21st Century Feminine Reader Response." Thesis, Linnéuniversitetet, Institutionen för språk och litteratur, SOL, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-16850.
Full textSamuelsson, Victoria. "What Manner of Man is This? The Depiction of Vampire Folklore in Dracula and Fangland." Thesis, Stockholms universitet, Engelska institutionen, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-77495.
Full textNävsjö, Dana. "From Threat to Thrill : A Comparative Study of Bram Stoker's Dracula and Stephenie Meyer's Twilight." Thesis, Linköpings universitet, Institutionen för kultur och kommunikation, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-90929.
Full textGall, Beata. "En roman att sätta tänderna i : - Tre forskare och fem studenter tolkar Bram Stokers Dracula." Thesis, Örebro universitet, Institutionen för humaniora, utbildnings- och samhällsvetenskap, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-67408.
Full textBergstrand, Julia. "Mina, the "Angel", and Lucy, the "Monster" : two sides of femininity in Bram Stoker's Dracula." Thesis, Högskolan Kristianstad, Fakulteten för lärarutbildning, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:hkr:diva-20723.
Full textUnbeck, Erika. "Vampyrer på filmduken : En fallstudie av hur vampyrer skildrars genom tiderna." Thesis, Linnaeus University, School of Language and Literature, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:vxu:diva-6884.
Full textEn c-uppsats där det gjorts en fallstudie med sju filmer som visar upp vampyren med fyra olika analyspunkter;
- Utseende - Hur de ser ut, beter sig samt rörelsemönster
- Egenskaper - vilka egenskaper som visas samt nyttan dessa tillför
- Konventioner - människans skydd mot vampyren, vampyrens reaktion samt dess död
- Bettet och förvandlingen - förvandlingen från människa till vampyr
Davydov, Leah Christiana. "“Only a Sufficient Cause:" Bram Stoker's Dracula as a Tale of Mad Science and Faustian Redemption." Cleveland State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=csu1494069279953216.
Full textTatum, Brian Shane. "Relativity In Transylvania And Patusan: Finding The Roots Of Einstein’s Theories Of Relativity In Dracula And Lord Jim." Thesis, University of North Texas, 2011. https://digital.library.unt.edu/ark:/67531/metadc103399/.
Full textPektas, Nilifer. "The importance of blood during the Victorian era. : Blood as a sexual signifier in Bram Stoker's Dracula." Thesis, Södertörn University College, School of Language and Culture, 2005. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-500.
Full textJacobsson, Lisa. "The Changing Role of Science in Frankenstein, The Strange Case of Dr Jekyll and Mr Hyde, and Dracula." Thesis, Linköpings universitet, Institutionen för kultur och kommunikation, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-68948.
Full textWetterstroem, Kathryn. "Sucks to Be a Woman: Shifting Responses to Feminism from Dracula to The Historian." Wittenberg University Honors Theses / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=wuhonors1617982997535422.
Full textJohansson, Fredrik. "From Conqueror to Rebel Without a Cause : The Change in the Symbolic Function of Vampires, from Bram Stoker’s Imperialistic Dracula to Anne Rice’s Anarchistic The Vampire Lestat." Thesis, Växjö University, School of Humanities, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:vxu:diva-2572.
Full textAbstract
In this essay I look at the change in the symbolic function of vampires, and to see this I use
Bram Stoker’s Dracula and Anne Rice’s The Vampire Lestat. My argument is that the
difference between Dracula and Lestat is basically that they represent different ideologies,
with Dracula being an imperialist, and Lestat being an anarchist. The difference is shown by
taking examples from the text of the two novels, and also taking information about the
ideologies, and seeing if the actions and thoughts of the characters match the suggested
ideology.
First, the essay looks at Dracula and his connection with imperialism, and then it turns to
Lestat and his connection with anarchism.
The conclusion is that the facts derived from the novels make it quite clear where the
political hearts of the vampires lie.
Romero, Holly-Mary. "The doppelganger in select nineteenth-century British fiction : Frankenstein, Strange case of Dr Jekyll and Mr Hyde, and Dracula." Thesis, Université Laval, 2013. http://www.theses.ulaval.ca/2013/29381/29381.pdf.
Full textThis thesis investigates the representations of the doppelganger figure in three nineteenth-century British Gothic novels: Mary Shelley’s Frankenstein, Robert Louis Stevenson’s Strange Case of Dr. Jekyll and Mr. Hyde, and Bram Stoker’s Dracula. Using Charles Darwin’s The Origin of Species and The Descent of Man, and Sigmund Freud’s The Uncanny, I argue that the doppelganger symbolizes social conventions and anxieties of British men in the 1800s. By examining the physical and metaphorical representations of duality and the doppelganger figure in literature, I demonstrate that duplicity was commonplace in nineteenth-century London. I conclude that the doppelgangers are physical Gothic manifestations of terror that epitomize nineteenth-century struggles with propriety, repression of desires, and fears of atavism, descent, and the unknown.
Anttonen, Ramona. "The Savage and the Gentleman : A Comparative Analysis of Two Vampire Characters in Bram Stoker's Dracula and Anne Rice's The Vampire Lestat." Thesis, Växjö University, School of Humanities, 2000. http://urn.kb.se/resolve?urn=urn:nbn:se:vxu:diva-535.
Full textThe creatures known as vampires have inspired authors for several hundred years. These beings are stereotypically described as belonging to a “nocturnal species” who live “in shadows” and drink “our lives in secrecy” (Auerbach 1). However, they have by now appeared so often in literary works, and in so many different shapes and sizes, that they are much too nuanced to be called ‘stereotypes.’
This essay will make a historical comparison between two fictional vampires, one hundred years apart, in order to show that a change has taken place when it comes to how vampires as fictional characters have been portrayed in terms of their appearance, their psychology, and their roles in society. The first novel chosen is, for obvious reasons, Bram Stoker’s Dracula. It was written at the turn of the nineteenth century by a male author and is probably the first novel that comes into mind when the word vampire is mentioned. The second novel, The Vampire Lestat, was written almost a century later, in 1986, by a female author, who, to readers of vampire fiction, is a worthy successor of Stoker. Her name is Anne Rice, best known for her debut novel Interview with the Vampire (1976).
The two novels are naturally chosen because of their similarities, but perhaps even more so because of their differences. Dracula is a typically Victorian Gothic novel, which is set in the remote mountains of Transylvania, and in the modern capital London, contemporary to when the novel was published. It is written in epistolary form but never allows for the main character, Count Dracula, to defend or explain himself and his actions in a first-person narrative.
The Vampire Lestat, on the other hand, is a Neo-Gothic novel that focus less on conventional Gothic elements, for example gloomy settings, and more on the psychological aspects of what it is like to actually be a vampire. Unlike Dracula, it is the main character’s fictional autobiography in which he recalls his life in France, his transformation into a vampire, and his current career in the United States as a famous rock star. Nina Auerbach calls it “a series of temporal regressions in which Lestat . . . embarks on a backward quest out of the knowable world” (172).
Both novels used in this analysis are thus part of the Gothic genre, one being a Victorian Gothic and the other Neo-Gothic, but there are significant differences between the two. I will investigate how these differences reveal themselves when it comes to setting and plot. However, the novels are similar in that they present two male vampires who belong to the nobility and have lived on through the centuries. The vampires both want to be where the power is, which means, in the case of Stoker’s Dracula, that he tries to conquer nineteenth-century London and seduce a young intelligent woman named Mina. Lestat, on the other hand, wants to become a famous twentieth-century rock star in the United States and simply have a good time while being a vampire (Auerbach 6).
The aim of this essay is to investigate what is typical of the genres that the two novels belong to and determine what has changed in the vampires’ physical appearance, their manners and their ability to adapt to modern society. In the first section of the essay I will give a description of the typical elements of the Gothic and the Neo-Gothic genres and then compare them in order to make a generic description of the two novels, Dracula and The Vampire Lestat. Vampire fiction will be treated as a sub-genre to the Gothic genre. In the succeeding two sections I will make comparative analyses of the two novels, particularly of the main characters, in order to describe the similarities and differences between the two and study how the vampire character has changed during the last century. Much of the discussion, especially regarding Dracula, will be based on Cesare Lombroso’s concept of the ‘criminal man,’ and various modern scholars’ opinion that the vampire is seen as an outcast and a threat to society.
Freitas, Mariana Fagundes de. "Staked twice: the violent deaths of female vampires in Bram Stoker's Dracula and F. Marion Crawford's "For the blood is the life"." Universidade Federal de Minas Gerais, 2011. http://hdl.handle.net/1843/ECAP-8GDSRM.
Full textNesta dissertação, apresento uma análise de obras de Bram Stoker e F. Marion Crawford com base em suas descrições de vampiras. Meu corpus é composto pelo romance Dracula de Stoker e pelo conto de Crawford 'For the Blood Is the Life'. A minha análise deste corpus baseia-se em quatro princípios: a punição deve ser proporcional ao crime, o controle é exercido através da formação de uma comunidade; as vampiras foram consideradas mais ameaçadoras do que os vampiros; a morte é o último recurso para repreender a conduta feminina; e há um certo preconceito na descrição destas personagens femininas. Todos esses princípios parecem ser comprovados pela manifesta inevitabilidade da morte das mulheres e pelo rigor e brutalidade nas execuções das vampiras. A figura da vampira parece ajudar a vislumbrar as mudanças do papel da mulher na sociedade do século XIX e na resposta geral a estas mudanças. A idéia de que a deterioração da condição humana está relacionada ao feminino e à feminilidade é associado à idéia de monstruosidade e alteridade em histórias de vampiros. Minha análise das obras de Stoker e Crawford demonstra que ambos os autores representam, por meio de suas vampiras, que uma comunidade é formada no seio da sociedade para impor regulamentação de práticas sexuais e evitar que intercursos sexuais irregulares se espalhem entre os outros membros dessa comunidade e da sociedade em geral. Uma vez que os comportamentos não-femininos causam a exclusão das mulheres da sociedade e da comunidade, e quando não há nenhuma chance da recuperação, a morte é a única alternativa possível. A morte é paradoxalmente punição e salvação, pelo menos para os personagens femininos.
Galliera, Anca Izabel. "Negotiating artistic identity through satire subreal 1989-1999 /." [Tampa, Fla.] : University of South Florida, 2005. http://purl.fcla.edu/fcla/etd/SFE0001175.
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